【摘要】： 《溪山琴?zèng)r》是我國(guó)也是世界上最早將美學(xué)理論與演奏實(shí)踐密切結(jié) 合起來(lái)加以論述的重要琴論專著之一。 針對(duì)《溪山琴?zèng)r》的內(nèi)容，筆者主要從音樂(lè)審美觀和演奏美學(xué)思想 兩個(gè)方面來(lái)分析它的音樂(lè)審美思想。《溪山琴?zèng)r》的音樂(lè)審美觀主要源 于儒、道，但又揉和儒、道，形成了自己獨(dú)特的“淡和”的音樂(lè)審美觀。以 此音樂(lè)審美觀為指導(dǎo)，《溪山琴?zèng)r》又提出了一整套的演奏美學(xué)思想，本 文主要從內(nèi)、外兩個(gè)方面來(lái)作了具體的分析。即在演奏中既要有外功 ——指、腕、臂、身的基礎(chǔ)，更取決于內(nèi)功——耳、心、氣、神的修煉，，方能 使古琴演奏臻于至善至美的境地。 本文分上、下兩篇。上篇為音樂(lè)審美現(xiàn)，由三章構(gòu)成，即第一章儒 家音樂(lè)美學(xué)思想的體現(xiàn)；第二章道家音樂(lè)美學(xué)思想的體現(xiàn)；第三章《溪 山琴?zèng)r》的音樂(lè)審美觀；下篇為演奏美學(xué)思想，由兩章構(gòu)成，即第一章外 功和第二章內(nèi)功。
[Abstract]:Xi Shan Qin is one of the most important monographs on piano theory in China and in the world. In view of the contents of the "Xi Shan State of the harp", The author analyzes his musical aesthetic thoughts mainly from the aspects of music aesthetics and performance aesthetics. The music aesthetics of "Xi Shan Qin State" mainly comes from Confucianism and Taoism. But with Confucianism and Taoism, formed their own unique "light and" music aesthetic. Guided by this musical aesthetic, Xishan Qin State puts forward a set of performing aesthetic thoughts, which are mainly analyzed from two aspects: inside and outside. That is to say, the basis of external work, that is, finger, wrist, arm, and body, depends more on the inner work the practice of ear, heart, qi, and God. In order to make the Guqin play the most beautiful situation. This paper is divided into two parts. The first chapter is composed of three chapters: the first chapter is the embodiment of Confucianism 'music aesthetics thought, the second chapter is the embodiment of Taoist music aesthetics thought; The second chapter is the aesthetic thought of performance, which consists of two chapters: the first chapter is the external work and the second chapter is the internal work.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2001
【分類號(hào)】：J601

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 周慧;《溪山琴?zèng)r》“和淡清雅”探賾[D];上海師范大學(xué);2011年

本文編號(hào)：2371000